Review: Longstanding vibe smasher Coda makes his debut on Twisted's Grid imprint and he's brought along his pal Coy for the ride. Both tracks slap with a certain onomatopoeic justice: "Splatter" feels like a night out in a classic 90s TV gunk tank while the outerplanetary gusts and tubular sub hurricanes of "Conspiracy" are darker than a night in with 100 Illuminati fellows. Don't have nightmares.
Review: Grid Recordings are sick little label that we regularly cover here because their releases are so consistently good, so consistently naughty and just so consistently consistent. Damage Report is a regular appearance on their release catalogue and he's back with the Neck Noose EP, a five-tracker of bubbling, jump-up influenced wizardry. There are plenty of rolling bangers here, but 'Piranha' is the tune that really caught our attention. With a creative, almost-halftime drum pattern and snarling bass flicks, it combines novelty with time-proven strategies of dancefloor damage.
Review: Damage Report returns to Twisted's recently revived Grid imprint with another absolute shredder-fest. Six-tracks deep, it's mean, it's raffish, it's toxic, it's rolling, it's hooky; ain't nobody messing around right here. "Frankenstein" is every bit as freaky as its title suggests, "Don't Offend Me" ignites with an almost trancey feel before dropping into a late 90s Bristol steppy sound, "Banana Tree" is a bongo-busting rattler that purrs with subby goodness, "It's Alive" is a stripped back spook-fest that wouldn't go amiss in a Serum set while "Rope Swing" leaps through the jungle with a truly chest-beating bassline and "Message Of Doom" signs out the EP with the deadly intention it deserves. Damage Report has been smashing it for several years now. This is the sound of him levelling up once again.
Review: Damage Report has been doing, well, damage, over on Grid Recordings for a little while now and so this next release could actually be considered somewhat overdue. Never fear, however, as a remix release for the man himself is upon us and boy, it's been worth the wait. Courtesy of Lupo, Nick The Lot, Twisted Individual, Warhead, Matt View and Marvel Cinema, Damage Report has been given the onceover in a way that freshens things up by stays true to the original. Nick The Lot's remix of 'Time Lapse' is the standout contribution from a crowded field, his ability to warp sounds into devilish concoctions of force is on full displays and blimey, it sounds bloody wicked. One for the jump-up crew.
Review: Grid Recordings are a regular here on Juno and for good reason, their proclivity for steadily releasing rough but energetic, whole-hearted cuts is strong and their small size doesn't prevent the release of top-quality music. The title track is the strongest on the release, with a Dispatch-esque feel to its cracking percussion and a torn, broken back end that rips across the range with style. The other 3 cuts go down a more jump-up route and, if you like Grid, this is the release for you.
Review: Shots fired! Murking marksman Damage Report gets mucky with his latest lenger. Croaking and smoking with a precision chiselled riff that adds more and more lasers on every 16, it's a spunky number that drops into a remarkably euphoric breakdown before going in for happy slappy seconds. "Not Impressed" shows Damage Report's slightly moodier side with a floor sweeping scuzzy sub and tightly-rattled percussive licks. Get loaded.
Review: Gavin Damage aka Damage Report returns with his third release for Grid Recordings this year. On the title track, the influence of jump-up and hard core loom large; rave horn blasts, electronic squiggles and pile-driving drum builds all come together to support a matter of fact sample that simply states 'your father is far from being a well man'. "Bag of Chat" sees the prolific UK producer opt for a different route. On this occasion, the sound of dub lingers over the arrangement as a splurging bass underpins fast-paced chat. It's proof again that Damage Report is one of the UK's most versatile and talented drum'n'bass producers.
Review: Shake those sleeve-tatted arms of yours, groom that well-trimmed beard, smash your avocados to a pulp: Damage Report is taking us to our hipster leader and he's doing it low-swung, heads-down grizzly style. Chugging like the bittersweet taste of almond milk, "Shoreditch" is every bit as trendy (and techno-y) as its name suggests. By this logic you'd expect "Current Bun" to be all sticky and sweet, right? Well it's not. It's chewy, it's gritty, it deposits a venomous aftertaste right at the back of your tongue, it will leave you feeling like you've had an electric shock and you'll keep coming back for more. Take us to your baker, Damage Report
Review: Distant Future and Lowriderz have been absolutely smashing it recently and they're fast becoming one of Grid's most reliable sources of explosive dancefloor material. This release is no different, featuring two cuts of pure damage in classic style, with plenty of attitude and plenty of gunfinger moments. The first tune is our favourite, with a seriously hype-inducing build and a raucous drop that reminds us of a Neurofunk track, except without all the unnecessary noise it becomes ten times heavier. We love this one - big-ups to the Grid crew.
Review: Twisted's Grid launches a new series dedicated to the deeper, introspective moments in life with five seriously respected artists at the dials. DJ Limited continues to show how versatile he is with the clanking, wobbling, slurring "To Be The First", man of the moment Need For Mirrors gets his slinky step on with "Such A Thing" while Damage Report gets his dancehall neck brace on with the hardest, snare-snapping jam of the set "Took You So Long". Elsewhere Dexcell add pace and grit to Mutated Forms' space-hopping bleep shock out "Duct Tape" and Raz brings down the curtains with a hurricane snare rattler that's laced with bone-chilling textures and rises. One for the heads...
Review: Grid Recordings are a regular here on Juno and for good reason, their proclivity for steadily releasing rough but energetic, whole-hearted cuts is strong and their small size doesn't prevent the release of top-quality music. The title track is the strongest on the release, with a Souped Up-esque feel to its cracking percussion and a torn, broken back end that rips across the range with style. The other 3 cuts go down a more jump-up route and, if you like Grid, this is the release for you.
Review: Look into Hexa's eyes. Not between the eyes. Not around the eyes. Not beside or beneath the eyes. Look into his eyes... And he will see to the depths of your soul. He'll have a laugh at your deepest desires to the twisted decaying rot of the title track 'The All Seeing Eye'. Then he'll sooth your troubles with jittering bass croaks 'Reassurances' and juice up those daydreams with the harmonic vibrancy of 'Submarines'. Before you know it he's probing your highest ambition, getting you feeling like Rocky to the understated grunt and thrust of 'Dismay' before getting you ready for war with the tense creeper 'Minesweeper'. The eyes have it.
Review: Previously spotted on Proximity, Kit slaps us till we're woke with his Grid debut "Awakenings". A rasping, technoid stomper with just the right amount of roll, it's darker and more early 2000s than a lot od Grid damagers but fits in with the leagues of thumpers we've been treated to over the last year or so since the label's return. "Vaporise" blows smoke up our souls with lavish instrumentation on and sudden drop into a wonderful humming sub line and rising techno skank that emerges midway. Think Bladerunner with a dash of Digital and you're on the right track. Time to wake up.
Review: Grid Recordings are a regular here on Juno and for good reason, their proclivity for steadily releasing rough but energetic, whole-hearted cuts is strong and their small size doesn't prevent the release of top-quality music. 'Cop Killa' is the strongest on the release, with a Dispatch-esque feel to its cracking percussion and a torn, broken back end that rips across the range with style. The flip side is even more distorted and broken, with a pounding sub that underpins its metallic top line - this is a genuine stinker. KY has killed this one and so have Grid.
Review: After an exceptionally prolific 2017, Leaf's been a little quiet this year. Most likely he's been in the lab cooking up a whole summer's worth of slammers so scorching they'll burn your whole house down if you don't keep your files in a fire and shock proof harddrive. "The Pistol Shot" is less of a single shot and more of an automatic fire, aimed straight at your senses. And don't go thinking those ice cold rave pads are going to sooth the pain. They only make it feel even meaner. "Dub Tang" is equally forthright. Boosted with some really tasty rolling breaks and subs so stupendously thick they'd be welcomed on any reality TV show, it's another authentic jungle expedition from the still-unstoppable Leaf.
Review: Grid Recordings is such an underrated label, honestly. The amount of sick stuff these guys pump out week after week is somewhat astonishing and when T>I is a regular customer, you know you're on the right path. For this release they've strayed slightly from their usual heavy tones for something slightly more circumscribed, a bit more retrospective, and it's from Matt View & Marvel Cinema. There's a really nice collection of laid-back jungle steps, wispy atmospheric rollers and bassy undertones. 'Tidelands' has all of the above and it makes for a sick journey through urban-edged sound.
Review: Grid Recordings is such an underrated label, honestly. The amount of sick stuff these guys pump out week after week is somewhat astonishing, from the likes of Nick The Lot, T>I, Shield and more, including today's customers: Matt View and Marvel Cinema. For this release they've strayed slightly from their usual heavy tones for something slightly more circumscribed, a bit more retrospective, and it goes down in a lovely way. There's a really nice collection of laid-back jungle steps, wispy atmospheric rollers and bassy undertones. 'Altitude' has all of the above and it makes for a sick journey through urban-edged sound, a nonchalant but still potent expression of dance music with a softer side.
Review: It's the tune that simply won't quit: Mutated Forms' breakthrough stuttering halftime jam "Wastegash" enjoys two brand new remixes: DJ Limited adds a sassy swung triplet drum and maintains the rifle-like gutter groans of the OG bassline while Freek pushes the original grizzle to the background and adds a whole new level of clanger prang weirdness. Just when you thought the original was timeless and The Upbeats remix couldn't be topped, along come these. Get wasted.
Review: Fresh from his "Cabin Fever" trip on Zombie Recordings, Nick The Lot returns to his most consistent home at Grid. Another fat-stacked four-pack of grit, it's another feast; "Worldwide" is persistent little growler with a mutant bassline that flips between keys, "Firing Mechanism" has a deeper feel than the title might suggest. Strange, futuristic chords swoon along with pitched vocals, giving it a rave sometime-in-the-future vibe before the bassline starts to get freaky on the second drop. Need a bit more filth in your ears? Then jump on "You Don't Understand" as the full focus is a decaying, grotty bassline. Finally "H20" finishes with the weirdest flavour of the set; trippy, warped and plain rude, it's every bit as refreshing as its name suggests...
Review: Grid Recordings always deliver tough, urban-edged sonics that don't prance around or act fancy, they just get down and dirty. Nick The Lot has delivered exactly that here, with a four-track EP of moody tones and no-nonsense drum lines. 'Blueprint' is a perfect example of said drums, with impossibly clean hits and a clear sense of space and progression, its bass stabs are almost shadowed out. 'Missing Person' is the most futuristic, with a deep back end and seriously cool synth spasms that lend it a techier feel than the other cuts on the EP. The other two are equally top-draw - make sure to check these.
Review: Nick The Lot has been absolutely smashing it recently and he's fast becoming one of Grid's most reliable sources of explosive dancefloor material. This release is no different, featuring four cuts of pure damage in classic Nick style, with plenty of attitude and plenty of gunfinger moments. The title tune is our favourite, with a seriously hype-inducing build and a raucous drop that reminds us of a Neurofunk track, except without all the unnecessary noise it becomes ten times heavier. We love this one - bigups to Nick.
Review: Grid Recordings always deliver tough, urban-edged sonics that don't prance around or act fancy, they just get down and dirty. Nick The Lot has delivered exactly that here, with a four-track EP of moody tones and no-nonsense drum lines. 'Rat Poison' is a perfect example of said drums, with impossibly clean hits and a clear sense of space and progression, its bass stabs are almost shadowed out. 'Hideous Creatures' is the most futuristic, with a deep back end and seriously cool synth spasms that lend it a techier feel than the other cuts on the EP. The other two are equally top-draw - make sure to check these.
Review: Grid Recordings is a moody label, man -the stuff that they've been putting out the past year or so has been outstanding, dark and fairly pissed off. Nick The Lot's single continues that trend and boy, the first track is a stinker. 'Rastaman' features reggae-influenced vocals, a clean yet driving drum line and a bassline that sits underneath both perfectly with pitched-up fever. The b-side is 'The Phantom' and it's another roller, except it approaches things from the direction of squelchingly insane bass sounds and a constant feeling that you're in a blender. Less high-brow, perhaps but equally devastating for the dancefloor.
Review: Nick The Lot and Warhead are back, back again and it's once again on Grid Recordings, the label which ceases to pump out music which pummels you, pleases and you and punishes you in equal measure. This time around the pair are working on a joint single and it's a percy, with two slices of trademark damage that tread a wicked line between over-the-top jump-up and moody rollers. 'Shoplifters' is the best example of that, as the drums roll out into oblivion and a gargling expression of bass energy lights up the top end of the range in stabby, serious fashion. Energy, energy.
Review: You can't say 'party on dudes' without saying PA. Hell you can't even say 'pandemic' without saying PA. But you can say 'petty pilfering', which is what PA has done right here... He's half-inched your soul and he's not going to give it back until you've soaked up all six slices of his badness. From the tense rattle and hum of 'Annabelle' to the shimmering intro and absolutely bumping tribal drop of 'No Seeds' and the growling grumpiness of 'The Past' and three other essential bangers in between, by the time you've chowed down on all this wholesome dankery you'll have forgotten he's even taken your soul in the first place. You can't say 'panic buy' without saying PA.
Review: Jungle front runner Renegade joins forces all around top don Ray Keith as the pair make an exciting return to their release schedules with an extremely vibrant two track outing. Junglist vibes a plenty as we jump into the high energy drum rolls and evil bass maneuvers of the title track 'Dancing Own My Own', packed with emotive vocal stabs sliced up to perfection. On the flip we are given 'Jah Love', a rollers anthem to the maximum as a luscious ambience and dubbed out patois samples greet us at the introduction. We then descend into subtle sub LFO's and exciting break textures, rounding up an excellent return for both producers!
Review: Grid Recordings have a bit of a reputation for spewing out some of the most venomous beats in the business and their talent for pushing some of the best artists on the jump-up spectrum is undeniable. Shadre & Salvage are holding up that standard and they're doing it in style, something clear right from the start of this single. 'Stay Put' reels you in with a lovely introduction, it's synthy beginnings quickly regressing to a siren-like wail of pure energy that's reminiscent of Kings of the Rollers and insanity more generally. The rest of the release is wicked as well, as the flipside 'Ya Dun Know' features the vocals Diligent Fingers over a choppy bassline and funky synth work.
Review: Some people say T>I stands for totally incredible, others say it stands for terrible infection. The truth is no one actually knows what his name stands for, but we know what his music stands for... Pure trouble insurgency. No one makes rollers or bumpers that unite the scene like this guy. Literally every DJ across the board plays them and there's a good reason; they pop with character, weight and furious funk. "Gains" and "Turn The Page" are no exception; the former is an understated bouncer with a quirky spoken word sample while "Turn The Page" brings the drama with sharp orchestral stabs. Make some gains in your own life and cop these today.
Review: T>I is the man behind many a gully, angry roller with a giant, attitude filled bassline. He has a certain quality to his music which I don't think many can pull off, that truly angry, aggressive pulsation to the edges of his low frequencies. He's back on Grid Recordings, a label whose sound is well suited for T>I, with this heavy hitting single. The title track has a unique structure and well-rounded percussion which sits below the main affairs, a gargantuan, pummelling main bass patch which warps in and out of the arrangement perfectly. The VIP of 'Turn The Page' is a chopping, stabby little thing that also rolls out in tidy fashion, each hit of the main bass line sounding exquisite in its punchiness.
Review: Now entering its 20th year of gully manoeuvres, Grid Recordings unleash another set of remixes of the bossman's tracks through the ages. First up Jayline gets out his stick and whacks "Last Days Of Rome" within inches of its life with a big high voltage bassline, Grid regular Nick The Lot flips "Danger Zone" into a much crunchier, rasping affair and Argentinian newcomer Yatuza adds whole new levels of trippiness to "Edge Of The Dome". Last but not least Matt View and Marvel Cinema go right back to 2003, grab Pony Pleasure by the scruff of its neck and give it a good scrub with cosmic soap. Nice and bubbly.